"...In these vast orchestral canvases, Tournemire was gradually effacing the conceptual distinction between symphony and tone poem, and through his incremental inclusion of Debussian harmonic traits such as modality and suspended progressions, for example, he was producing what in effect were the first...essentially impressionist symphonies...a lovely conclusion to this courageous survey of Tournemire's symphonic oeuvre..." -Snook, Fanfare